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明陳洪綬畫卷石山茶 軸
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者陳洪綬
- 色彩水墨
- 裝裱形式軸
- 數量一軸
- 集叢號-類型單件
- 典藏尺寸本幅@#@113.6x27.9
- 質地本幅@#@紙
- 題跋資料作者款識@#@陳洪綬@#@本幅@#@洪綬畫於清沓閣@#@草書
- 印記資料鑑藏寶璽@#@乾隆御覽之寶@#@@#@鑑藏寶璽@#@乾隆鑑賞@#@@#@鑑藏寶璽@#@嘉慶御覽之寶@#@@#@鑑藏寶璽@#@嘉慶鑑賞@#@@#@鑑藏寶璽@#@石渠寶笈@#@@#@鑑藏寶璽@#@三希堂精鑑璽@#@@#@鑑藏寶璽@#@宜子孫@#@@#@鑑藏寶璽@#@寶笈三編@#@@#@鑑藏寶璽@#@宣統御覽之寶@#@@#@鑑藏寶璽@#@宣統鑑賞@#@@#@鑑藏寶璽@#@無逸齋精鑑璽
- 主題主要主題@#@山水@#@奇石@#@@#@主要主題@#@花草@#@茶花@#@@#@次要主題@#@花草@#@車前草
- 技法寫意
- 參考資料收藏著錄@#@石渠寶笈三編（乾清宮），第二冊，頁582 @#@@#@收藏著錄@#@故宮書畫錄（卷五），第三冊，頁482-483@#@@#@收藏著錄@#@故宮書畫圖錄，第九冊，頁101-102@#@@#@參考書目@#@1.〈明陳洪綬畫卷石山茶〉，收入國立故宮博物院編，《晚明變形主義畫家作品展》（臺北：國立故宮博物院，1977年九月初版），頁444。 2.〈明陳洪綬畫卷石山茶 軸〉，收入譚怡令、劉芳如、林莉娜主編，《滿庭芳-歷代花卉名品特展》（臺北：國立故宮博物院，2010年十二月初版一刷），頁154-155。@#@@#@內容簡介（中文）@#@陳洪綬（西元一五九八—一六五二年），浙江諸暨人。他作畫喜用誇張的手法，營造變形的趣味，以至能成為明代末期，畫壇中極富影響力的創新派代表。 本幅畫一株枝幹蒼老的山茶樹，倚著湖石昂首佇立。兩朵綻放的茶花，勾勒簡單而有力，前方的地上，還畫了兩顆車前子，高低之間，彷彿可以相互顧盼。雖然筆調並不拘泥於形似，仍舊洋溢著活潑潑的生機。@#@@#@內容簡介（中文）@#@陳洪綬（1598-1652），浙江諸暨人。字章侯，號老蓮，清入主中原後，自稱悔遲、勿遲。兼善畫人物及花鳥，亦參與版畫稿的製作。喜用誇張手法，營造出變形的趣味，致能成為明末清初，畫壇中風格獨樹的創新派代表。 本幅以水墨寫意法，畫一株枝幹蒼老的山茶樹，倚傍著太湖石昂首佇立。兩朵綻放的茶花，勾線簡率而靈動。前方的地面，另畫有兩株車前草，高下之際，彷彿可以相互顧盼。儘管筆調並未拘泥於形似，仍舊洋溢著活潑潑的生機。(20110102)@#@@#@內容簡介（英文）@#@ Chen Hongshou, a native of Zhuji in Zhejiang, had the style name Zhanghou and the sobriquet Laolian. When Manchu forces entered China and established the Qing dynasty, he took the name Huichi and Wuchi, meaning “regretfully” “too late.” He excelled at painting figures and bird-and-flower subjects, also taking part in making drafts for woodblock print illustrations. He often used exaggerated techniques to create a transformational style, becoming representative of the unique and original manner that emerged in painting circles of the late Ming and early Qing period. This work was done using the “sketching ideas” technique in monochrome ink. It depicts the trunk of an old camellia tree with a Lake Tai rock standing proudly by its side. The two blossoms on the tree are outlined succinctly but with spirit. On the ground in front are two plantago plants, which, compared to the height of the tree and rock, make it appear as if looking up to them. The brushwork is not confined to merely portraying the formal appearance, but also overflowing with vigor and life.(20110102)@#@@#@內容簡介（英文）@#@Ch’en Hung-shou, a native of Chekiang, often painted with an exaggerated and unique style that transforms his subjects for an unusual effect. For this reason, this innovative artist of the late Ming became quite influential. An old camellia tree rises up along the right border of this painting. A decorative garden rock is shown parallel to it as two camellia blossoms with leaves sprout from the otherwise bare tree and are done with simple yet powerful outlines. On the ground before the tree and rock are two plantago plants that echo their position. Although Ch’en’s brushwork was not necessarily faithful to the appearance of forms, he quite successfully instilled a sense of energy and liveliness in this painting.
- 地圖
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